The identification of this figure is difficult to pinpoint. The only clue we are given is the hat he wears. Perhaps this represents the messenger god Mercury. However, since  More »

The identification of this figure is difficult to pinpoint. The only clue we are given is the hat he wears. Perhaps this represents the messenger god Mercury. However, since the figure lacks his legs and forearms, including Mercury’s telltale winged shoes, we cannot say for sure. Yet the identity of this figure is irrelevant when compared to the beauty of his craftsmanship. There are still remnants of his silver inlaid eyes. The fine modeling of his body is superb. He has softly defined musculature in his torso and back. The features of his face recall an actual portrait. Above all this is a sculpture of remarkable beauty and delicate form. A god like Mercury would be worthy of such a guise. - (FZ.368)   « Less

Apollo, God of the Sun, son of Zeus and Leto, twin brother of Artemis, is one of the most important figures in the Olympian pantheon and the only Roman god to retain his  More »

Apollo, God of the Sun, son of Zeus and Leto, twin brother of Artemis, is one of the most important figures in the Olympian pantheon and the only Roman god to retain his original Greek identity. Apollo was the god of the arts, specifically music and poetry. One of his attributes is the lyre given to him by Mercury. Apollo was the father of the famed poet and tragic lover Orpheus and was a patron of the Muses. He was a master archer and a fleet- footed athlete, credited with having been the first victor in the Olympic games. Thus he is often depicted with a bow and quiver, crowned by a laurel wreath, a sign of victors much like gold medals are today. He was also associated with law, medicine, and philosophy.   « Less

Originally, this decorative ornament would have adorned a chariot. A masterfully modelled lion, crowns the top of the piece with two arm-like appendages emerging from the  More »

Originally, this decorative ornament would have adorned a chariot. A masterfully modelled lion, crowns the top of the piece with two arm-like appendages emerging from the body. However, the ends of these appendages are sculpted in the form of a duck. This combination of elements from different animals is not all that unusual when one considers mythical creatures such as the griffin, satyr, or Pegasus. There might have been a symbolic significance linking the two creatures together, perhaps relating to a fable or proverb. However, it is more likely that, given the nature of this item, the animals were selected for their decorative qualities. The intricate details of the feline’s fur and whiskers, as well as the birds' feathers, are astounding. The artist has captured the formal qualities of the lion while maintaining a level of stylization and abstraction. It is difficult to imagine how sumptuous the item they once adorned must have been.   « Less

Originally, this decorative ornament would have adorned a chariot. A masterfully modelled lion, crowns the top of the piece with two arm-like appendages emerging from the  More »

Originally, this decorative ornament would have adorned a chariot. A masterfully modelled lion, crowns the top of the piece with two arm-like appendages emerging from the body. However, the ends of these appendages are sculpted in the form of a duck. This combination of elements from different animals is not all that unusual when one considers mythical creatures such as the griffin, satyr, or Pegasus. There might have been a symbolic significance linking the two creatures together, perhaps relating to a fable or proverb. However, it is more likely that, given the nature of this item, the animals were selected for their decorative qualities. The intricate details of the feline’s fur and whiskers, as well as the birds' feathers, are astounding. The artist has captured the formal qualities of the lion while maintaining a level of stylization and abstraction. It is difficult to imagine how sumptuous the item they once adorned must have been.   « Less

This bronze object depicts a grotesque head with a misshapen face and bald pate with two creases on his forehead. Such heads are believed to represent pugilists, hence the  More »

This bronze object depicts a grotesque head with a misshapen face and bald pate with two creases on his forehead. Such heads are believed to represent pugilists, hence the misshapen features. His eyes rest askew under thick double brows with incised details. He has bulbous cheeks, while his exaggerated nose hooks to the left and his large open mouth is contorted in a crooked scowl. In addition, there are perforations at the top of the head and behind the proper left ear. - (X.0141a)   « Less

Small votive plaques forged from precious metals such as this one were common to the regions of the western Black Sea coast under Roman control. Scholars believe that the  More »

Small votive plaques forged from precious metals such as this one were common to the regions of the western Black Sea coast under Roman control. Scholars believe that the images of a woman likely represent the Phyrigian goddess Cybele. Even as Hellenistic influence began to infiltrate Asia Minor, the Anatolian cult of the mother goddess, which can be traced back to the Neolithic era, remained a vital force. Based on the late Hittite goddess Kubaba, Cybele represented the most contemporary adaptation of this ancient fertility goddess. Called the Great Mother, she was one of the few Eastern deities whose cult was absorbed into the Roman pantheon almost fully intact.Here, she is depicted in the form of a woman wearing a garment belted just below her breasts. A headdress symbolizing the walls of a city she presumably protected crowns her head. She holds her arms in front of her, revealing her open palms to the viewer. The Great Mother Goddess of Anatolian mythology was worshipped before history was first recorded. Over time, her name and image changed as her cult was adopted and adapted by the varying civilizations that at one time ruled the land of Asia Minor. Here, on this bronze votive plaque, we witness this deity as she appeared to the Romans. Centuries later, this portrayal of the ancient Mother Goddess would survive in the form of the Virgin Mary, who is traditionally represented in Eastern Orthodox art forming a similar gesture. - (X.0157)   « Less

Small votive plaques forged from precious metals such as this one were common to the regions of the western Black Sea coast under Roman control. Scholars believe that the  More »

Small votive plaques forged from precious metals such as this one were common to the regions of the western Black Sea coast under Roman control. Scholars believe that the images of a woman likely represent a fertility goddess. Even as Hellenistic influence began to infiltrate Asia Minor, the Anatolian cult of the mother goddess, which can be traced back to the Neolithic era, remained a vital force. The Phyrigian goddess Cybele represented one of the most popular adaptations of this ancient fertility goddess. Called the Great Mother, she was one of the few Eastern deities whose cult was absorbed into the Roman pantheon almost fully intact.She is generally depicted on such plaques crowned with a kalathos, a type of tiered basket, holding her arms in front of her, revealing her open palms to the viewer. However, here, she wears an elaborate floral diadem headdress and the frame of the composition truncates her arms. Instead, the artist has chosen to emphasize the jewelry that adorns her body, including a necklace with a crescent pendant, armbands, earrings, and a thin headband. Flanking the goddess in the field on either side of her bust are two cult objects: a torch on the left, and a pair of cymbals on the right. The presence of the torch may indicate that this goddess is not Cybele, but Bendis, whose cult was famous for torch races. Although the identity of the goddess represented here may be uncertain, we can be sure that she represented a contemporary version of the ancient Anatolian Mother Goddess. - (X.0158)   « Less

Swift footed, Mercury (known to Greeks as Hermes), the messenger of Jupiter and herald to the gods, was the patron deity of travelers, gamblers, tricksters, and businessmen.  More »

Swift footed, Mercury (known to Greeks as Hermes), the messenger of Jupiter and herald to the gods, was the patron deity of travelers, gamblers, tricksters, and businessmen. To him is ascribed the introduction of deploying embassies in the capitals of foreign empires in order to broker peace through diplomatic channels instead of war. Mercury, the robber and cattle driver, the prince of thieves at the gates, the bringer of dreams, the patron of travelers, is also credited with assisting the Fates during the creation of the alphabet, securing his role as the governor of the tongue and the guide of intelligent speech. He also invented the lyre from a tortoise shell and gave this musical instrument to Apollo who, in turn, gave Mercury a caduceus, the golden staff crowned by wings and intertwined with serpents--symbol of today's medical profession. Mercury is sometimes called Argiphontes, for having killed the all-seeing Argos I who guarded Io. He is also referred to as Psychopompus in the context of his role as the guide of the souls of the deceased to the Underworld.   « Less

The basis or Roman weights and measures was the libra, called the Roman pound, which is roughly equivalent to eleven and a half ounces. However, the actual weight of the  More »

The basis or Roman weights and measures was the libra, called the Roman pound, which is roughly equivalent to eleven and a half ounces. However, the actual weight of the libra is difficult to determine, as it varied greatly in antiquity. Traditionally, the libra was determined by the weight of a coin, the gold aureus of Augustus served as the standard from 27 B.C. until 296 A.D., presumably the period when this weight was created. Forged in the form of a bust of Minerva (known to the Greeks as Athena), this weight may have been employed in the shop of an ancient merchant. However, considering the masterful artistry of the piece, it is unlikely that it would have been used on a daily basis. Instead, it may have rested on one side of a scale in order to determine the authenticity of currency when disputes arose. Goddess of arts and crafts, here Minerva is depicted wearing her characteristic aegis breastplate and Corinthian helmet, revealing her alternate role as a goddess of war. The helmet has been pierced horizontally in order to be suspended. - (X.0170)   « Less

In the ancient world, the ram was a symbol of strength, war, and male fertility. They were popular sacrifices on altars across the Mediterranean world and beyond. According  More »

In the ancient world, the ram was a symbol of strength, war, and male fertility. They were popular sacrifices on altars across the Mediterranean world and beyond. According to Classical mythology, rams were associated with the shepherd gods Mercury (Hermes) and Apollo. Here, in this gorgeous bronze sculpture, the ram is depicted with a pair of large wine skins draped across its back much like a saddle. Its thick, wooly fleece is finely detailed with incised lines indicating the individual tufts of fur. Its facial features are also quite intricately detailed, including the eye and spiraling segmented horns. The presence of the wine skins may indicate that this bronze sculpture may have played a role in the rituals of the cult of the wine god Bacchus. Such a bronze idol may have served as a symbolic sacrifice in place of the real thing. We can picture this sculpture once standing in a small private household shrine or in an altar in a cult temple. - (X.0172)   « Less